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ZENOBIA 

A DREAM OF ANCIENT 
EGYPT 




COPYRIGHT 1916, BY HARRY SQUIRES 
(ALL RIGHTS RESERVED) 



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JUL 13 1916 
DCI.D 44468 



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ZENOBIA 

(A Dream of Ancient Egypt) 

A Psychic Drama in Seven Scenes 



By HEREWARD CARRINGTON 

(Joint Author of "The Mysteries of Myra," etc.) 
Devised, Staged and with Scenic Effects by Harry Squires 

CAST OF CHARACTERS 

Jacques Dupont .An Artist 

Dr. Robert Morton Occult Investigator 

Princess Nbftahi F » a ■«%$>*$&* ♦ The Mummy 

Attendants, etc. 
Time : Present. Place : Egypt, near the Pyramids. 

SCENE 1 

(Full set, showing sands of desert, sphinx and pyramids in distance. 
Mummy-chamber in center. Faint blue light on stage, and illuminating 
mummy. Faint, weird music is in progress. Stage is empty for about thirty 
seconds at opening. Then voices are heard coming from a distance ; they get 
louder and louder; finally, Dupont and Dr. Morton enter, R., talking:) 

Dupont 
I tell you, my dear fellow, it's all rubbish ; there's no such thing ! I'm a 
complete materialist, and all this talk about souls, and spirits, and reincar- 
nation, and all that, is so much trash ! Why 

Morton 
Don't display your ignorance any further, my dear boy; you are speak- 
ing of phenomena you know nothing about. I have seen these things, and I 
know. You know I'm not a lunatic, or unbalanced, don't you? 

Dupont 
Yes 1 But 

Morton 
My dear boy, there's no "but" about it! I assure you solemnly that these 
things are true — they really happen, and science is doing more and more to 

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prove them every day. Spirits exist — and they can continue to influence those 
still living ! Out here in this gorgeous desert, with the influences and tradi- 
tions of the pyramids behind us (indicates them by a sweep of the arm), I 

don't see how you can doubt 

Dupont 

(Who has been moving about a little during this talk, and ascended the 
steps, so that he can see the mummy in the room asleep) : 

Good God! Rob, come here, old man, quick, and see what we've found! 
How on earth did this get here, do you think! What a beautiful creature 
she must have been, too! (He advances a step or two nearer). An Egyp- 
tian Goddess ! Cut in the whitest marble. And what exquisite lines—those 
features — those arms — the curves of the bust — the throat — oh, Robert, what 
a find! My God, if she were only alive! 

Morton 
Well, your artistic interest is no more aroused than my scientific sense. 
(He ascends the steps, and looks at the figure.) If we only knew the secret 
of life — how to restore it — some elixir 

Dupont 
Why not try? You say you know all about these occult things; why not 
try some evocation to bring her back; some — — 

Morton 
No, no; with one so long dead, the consequences might be other than we 
suspect — we cannot tell ! Take my advice — do not press me further ! 

Dupont 
Why not? What can happen? I'll take the risk! Come; in the name of 
our old friendship, and by promise you once made me, I conjure you to do 
what you can — perform any ceremony — and we will see the effects. Of course, 
nothing will happen ; but 

Morton 

It shall be as you say — though, remember. I have warned you against it ! 
Blame me not for anything that may befall! Come, stand here by me, and 
step not out of this magic circle until I give the word — otherwise your life 
may pay the price ! 

(Morton, while saying the last words, has drawn a sword from his 
sword-stick, and traced a circle on the sand, and the sacred pentagram * 
within it. He then lights a small jar of incense, and, taking the sword in his 



right hand, performs certain passes and figures with the point, at the same 
time muttering a spell or evocation. As he does so, the stage slightly darkens, 
the light in the mummy-room becomes brighter ; Morton and Dupont kneel 
and fall to the ground, on their faces (Dupont at the silent command of 
Morton). The slow transformation from the statue to the living woman is 
accomplished. She thereupon moves, gets up, stretches, smiles, and finally 
speaks. During all this time the stage has been getting gradually brighter, 
but is never fully bright.) 

Ah ! the bliss ! To feel once more, after all these years, the spark of 
life-^the touch of moist, warm flesh — the thrill of living, and of loving! To 
return to earth once more — yes, it is sweet ! And sweet, too, is revenge I My 
return is for a purpose! (She catches sight of D. and M. in the circle, on 
the sand.) That head; that form — Oh, Holy Mother Isis ! Oh, Osiris — give 
me strength aright — to live just long enough to justify my animation of this 
fair body — to use its fascination and its power to the great aim and end in 
view. So give me strength and steadfastness of purpose! 

(She crosses the floor of the mummy-room, descends the stairs and 

"walks- onto the sands, approaching the figures in the magic circle. As she 

does so, Moftoia^gradually raises his head, and catches sight of her. He gazes 

a moment and thenclrrtclies Dupont by the arm and brings him up, so that 

he, too, can see the figure.) 

My God! A miracle! Or is TT a vision? (He leans closer to assure 
himself, and she draws herself up in a haughty attitude as he does so. This 
assures him that she is a woman of flesh and blood. He proceeds:) 

No — she lives ! Rob — look — look — she breathes and glances fire from her 
eyes! Our invocation has succeeded! No more a sceptic I! (He advances 
toward her.) Fair maid; not long ago we saw you, sleeping marble — white 
and pure as the sands of yonder desert (indicates them). And now you stand 
before us in all the beauty of your womanhood — brought to life by our mag- 
ical invocation. Speak, fair wanderer from another sphere, and tell us of 
yourself — your name and whence you came ! 

Ra 

Many, many years have I lain asleep, encased in marble, a brain and heart 
of stone — waiting, waiting for the day of my reincarnation. Four thousand 
years ago, in ancient Egypt, I was a Princess of the Royal House — Neftari- 
Ra. All Egypt bowed to do my bidding. I loved — I gave my love — my all — 
to a man — fair to look upon — of grace of mind and strength of body — and for 



a time we two were happy! (She clasps her hands ecstatically and looks up 
at the audience; pauses.) And then my lover wearied of me — betrayed me — 
and one night (just such a night as this) he stabbed me with this very dagger 
(takes it from her belt and shows it) — here, into my fair breast did he plunge 
it (bares her breast, as far as the censors allow, and shows scar). To the 
hilt he drove it, and drank of my heart's blood. (She pauses, and droops her 
head.) I died. . . For thousands of years have I lain asleep, waiting for 
the magic touch to restore me — and now I know that I am alive ! I know also 
that my former lover still lives ! For my life and his will cross again — so it 
was prophesied by the Temple Prophetess — in the days of ancient Egypt. 

Dupont 

Princess, I am overwhelmed by what you tell me! So horrible a crime 
must needs be expiated by the heart's blood of him who was your murderer ! 
If I can do aught to serve you — you have but to command me. 

Ra 

You are right, indeed, as to the expiation of this crime. When his rein- 
carnated soul meets mine, and realizes that 'twas he who so foully murdered 
me, then — then his death-knell shall have sounded ! Ha ! You say you would 
serve me? Then come tonight to my Palace — three earthly miles from here 
(points) ; see— on the Nile — at eight. I shall expect you — Come! (Exits). 

Dupont 
Wondrous vision! Come! I shall be there. . . . Rob, Rob, my 
friend, did you see and hear as I did just now? What can it all mean? 
(Strokes his forehead.) That Palace — we have just visited it but yesterday. 
And it was dead — a pile of ruins ! Yet now she says she lives there ! Mys- 
tery of mysteries ! Come, Rob, my friend, let us rest, and then, to the Palace 
—and the Princess ! (Exeunt.) 

(Lights out; Drop Curtain for) 

SCENE 2 
(Exterior of ruined Egyptian Temple. Faint blue lights. Blue sky 
showing between the columns. Weird, far-away music {music cue) resounds 
from within the Temple. Enter Dupont and Morton, L., and stand in front 
of the Temple. Look up at it.) 

Morton 
This is the place — the very place — yet it is dark and ruined ! No signs of 

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life about. Can it be that she was tricking you — playing upon your youthful 
credulity? 

Dupont 
No, no — not that ! The very soul shone out of her eyes, and when she 
spoke of meeting once again her lover, I felt a thrill of envy sweep through 
me. . . . Stay — what was that? (He grasps Morton by the arm, and they 
both listen, as the music (music cue) becomes louder, then softer again, and 
finally dies away.) 

Morton 
Music, and from within the Temple ! There must be someone inside it, 
then ! But stay, my friend, a moment before so rashly venturing in. You do 
not altogether realize the danger that you run ! She is more than mere earthly 
woman — there is something of the supernatural about her ! Be persuaded by 
me. Leave this place before it is too late — before you have gone too far 

Dupont 
Cease, cease your croakings ! How can I think of aught else when She 
is present, and awaits me? If you fear for yourself, stay here, but I will 
enter. (Does so.) 

Morton 
Aye — I will stay, and watch ! 

SCENE 3 

(Interior of Egyptian Palace. Huge columns of stone at back, and on 
both wings. R. a dais ; upon it a throne. To left of throne, a table contain- 
ing wine, fruit, etc. Cushions about. Egyptian details, as far as possible. 
Faint blue light, which gradually becomes brighter on throne, in which is dis- 
covered, seated, the Princess. Soft music (music cue) is heard, then dies 
away as Dupont enters. 

Ra 

Hail! and welcome, honored guest I After your journey, you must be 
weary and need rest I Sit you down — drink — here is wine. (She fills two 
goblets and hands him one.) Will I dance for your entertainment, as I did 
of old — yes, before my lover, four thousand years ago? 

Dupont 

Ah, yes, most beauteous Princess ; and come to my arms when weary ! 

(Ra then throws off a veil, and begins to dance in a circle, constantly 
coming back to Dupont, and each time she does, she strips off a veil and 
throws it at his feet until she has as little on as the censor will permit. Dupont 



has been getting more and more enthralled all this time, and finally puts down 
his wine cup and stretches out his arms to her. She falls at his feet and 
throws herself into his arms. They kiss passionately.) 

Dupont 
Fairest of women ! Dearest Princess ! My very heart and soul are 
yours — my life's blood pulsates but for you 1 Give me your love — as I have 
given you life I To hold you in my arms — to feel the warmth of your kiss 
upon my lips — yes, for this would I sacrifice all — body, heart, and soul — for 
you 1 (Looks at her again. Picks up a wine cup and holds aloft, as a toast. 
He goes on :) 

Give me dancing, 
Give me wine- 
Bright eyes glancing 
Into mine ! 

Kisses, sucking up my breath ! 
Give me passion — give me death ! 

Ra 

You mean that? (Leaning forward and speaking slowly.) If you have 
my love, will you, too, promise to give me yourself — body, heart and soul — 
for this life and all lives to come? 

Dupont 
(Drinking another goblet of wine.) I do ! I do! Let me but love you, 
and all I have or am, or ever will be is yours. (He leans forward to take her 
more closely in his arms.) 

Ra 

Wait! Wait! Not now! This palace is enchanted! (A low burst of 
music (music cue) is heard. He starts back. Come to me tonight at twelve 
(she picks up a veil and gathers it around herself), in the room where first 
you saw me, and all I have to give in love will I give — at twelve— tonight ! 
(She passes behind a pillar, or something of the kind, and is gone.) 

Dupont 

(Runs, and looks behind the pillar; finds her gone.) Oh, God! To hold 
her in my arms ! To feel her kiss — her passionate embrace ! At twelve to- 
night! What can the time be now? (Looks at wrist watch.) Already ten! 
I must begone! Oh, being — natural or supernatural — I am yours! (Exits.) 

8 



SCENE 4 
(Drop; desert scene; a sandstorm is in progress; faint light; storm 
clouds ; general storm effects. Enter Dupont, R., staggering along more or 
less blinded by the sand and wind, and he holds up one arm over his face and 
eyes, then stops and falls to his knees.) 

Dupont 

This cursed wind and sand ! It fills my eyes and ears and nearly strangles 

me! Ah! I must be nearly there. Were it not for her I would turn back; 

but She the prize! I must on — struggle on — and pray the God Osiris (stops) 

—How came I to name that heathen god? It came to my lips without my 

bidding ! Strange, strange ! Ah ! I must begone ! Tis nearly twelve 

(He struggles up, and out L.) 

SCENE 5 

(Same as Scene 1. No storm. Stage is nearly dark; no figures visible 
anywhere. Dupont enters R., wiping his face with his handkerchief. . . . 
He looks about.) 

Dupont 

Thank all the gods, the storm has ceased ! This quiet spot seems mag- 
ically sheltered. And here she awaits me ! Oh, Love ! my divine one, I come 
to you! (He runs up the steps and into mummy-room. Pauses a moment, 
looking about in the dark, seeing no one. At that instant he is grabbed by 
two Arabs, dressed in conventional garb, thrown to the ground, gagged, bound 
hand and foot ; a trap is opened in the floor from which a faint blue light en- 
ters. One man descends ; his body is passed to him, and the two men start to 
carry him through the trap-door, and down a steep flight of stairs, when the 
lights go out. Stage is in complete darkness ; gradually faint blue light is seen, 
indicating — 

SCENE 6 

(Rock-lined tomb, faintly lighted in blue. Princess Ra is seen standing, 
wrapped in winding white trappings, half resembling a mummy. The two 
assistants are seen carrying Dupont's body down a steep flight of stairs. 
They deposit him on the floor, fold their arms, and look at her for instruc- 
tions. 

Ra 

Go! (Pointing to steps. They exeunt. She then takes the gag out of 



Dupont's mouth, and unties his feet, leaving his hands tied. He staggers to 
his feet. She confronts him.) 

Dupont 
What can this mean? So late I held you in my arms and pressed my lips 
to yours ! And now I am bound — a prisoner in a dungeon — a damp, cold, 
vaulted chamber — with the very atmosphere of death! (He shudders.) My 
love, loose me ; unbind me ; give me your love — yourself — as late you promised 
me! For you I crossed the blinding, sandy desert! Is that not proof of my 
devotion? Come, fairy Princess, do not play with mel What means this 
rough reception at your hands? 

Ra 

Oh, Jacques Dupont, when first you undertook the quickening of my 
soul to life, you brought into your life more than you ever dreamed of ! A 
supernatural being, your friend called me! Well, that I am! (Dupont starts 
back.) You know the secret of my life and birth — my birth into this life — 
my present incarnation ! But do you know that I have lived apart, and longed 
and waited all these years for this supreme moment? Centuries and cen- 
turies have I slept the sleep of death — awaiting incarnation ! I told you once 
before I was a Princess in the days of Egypt! Yes — that I was foully mur- 
dered by my best beloved — to him whom I had given soul and body — yes, 
stabbed with this very dagger (takes it out) in this my once fair breast! 
And did I tell you, too, of HIM who thus betrayed me — that demon — fiend 
incarnate — who, in his hour of triumph, cast me aside for another — a Priestess 
of the Temple of Isis? Do you remember (points at him) in those days of 
long ago, how I loved and longed for you — in your last incarnation ? 

Dupont 
Oh, God! Am I mad? Do I remember? Can I be he ? 

Ra 

(Screams with laughter. Ah, he remembers! Holy Mother Isis, he re- 
members ! Yes, I am the reincarnation of that Princess, and you — you, the 
living, breathing image of my former lover. Long, long, have I waited for 
revenge ! And at last it has come ! This dagger, which once you plunged in 
my fair bosom, shall now find rest and lodgment in your heart! You gave 
yourself to me, body and soul, you said — yes, body and soul — and your heart's 
blood you gave to me! Well, not I take it — Isis; Osiris — to you I give him, 
to you I offer him a living sacrifice. (She stabs him. Dupont falls to the 

10 



floor. She stands gazing at him for a moment; then turns and mounts the 
stairs to the upper room.) 

SCENE 7 

(Upper mummy-room; stage almost dark. A faint light (blue) gives, as 
she ascends, a soft glow. She places herself on the couch, and is gradually 
re-transformed to the marble image. The rest of the stage is in more or less 
darkness. It becomes gradually lighter, and Dupont and Morton are discov- 
ered on the floor, in the center of their magic circle, faces to the ground, as 
they were left in the first scene, before the mummy came to life. As it gets 
brighter, Morton lifts his head. He shakes Dupont by the arm. Dupont sits 
up, putting his hand to his head, and passing his fingers through his hair, etc. 
He looks wild, his eyes staring. He gasps and clutches his throat.) 

Dupont 
Oh, God ! She stabbed me, she stabbed me ! 

Morton 

Quiet, old man, quiet! If you will go in for magical seances, you must 
expect disturbing visions. All of them are not pleasant ! Come, tell me what 
it was you saw — under the spell of the ceremony — what did you dream? 
(Shakes him.) Come — tell me! 

Dupont 

A vision! A dream! Yes, I'll tell you! (They seat themselves. As 
Dupont is about to begin his story, the curtain slowly descends.) 



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